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Kenneth Woods, M.A. (Arch) Architecture Portfolio 2016

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Curriculum vitae


About me


Cloud Oculus


Tapas Architecture




əˈkuːstɪk (acoustic)


Memorial as Playground


Filling the Void with Space


Bauhaus Archiv


Supreme Court of Albania


Dom revolucije


Curriculum vitae

Name and Surname Kenneth Woods Date of Birth 07.04.1987 Citizenship Canadian, German

Languages English, German

Skills •Physical model making in all mediums and scales, including digital fabrication •Proficiency in all major 2d and 3d programs (Rhino, Grasshopper, V-Ray, AutoCAD, Revit, etc.) •Well versed in post-production of graphics and composing text (Photoshop, Illustrator, InDesign, etc.) •Passion for fixed focal-length photography and composition Education •Masters of Arts, Architecture. M.A.(Arch) msa - muenster school of architecture. Münster, Germany •Bachelor of Architectural Science (B.Arch.Sc.) Ryerson University. Toronto, Canada

09.2012 - 03.2015 09.2005 - 07.2009

Work Experience SADAR+VUGA - Junior Architect 05.2015 - 04.2016 Worked on a team for a range of international competitions and local commissions, including multi-unit residential projects and various cultural institutions. Work was conducted on all design phases, with a large range of physical and digital mediums. Two first place competition awards (Albania Supreme Court and Dom revolucije) and one third place (Grodzisk Sports Arena). Freelance designer 07.2009 - 09.2012 Independent and partnered projects working directly with architects, interior designers, artists, and clients. Work included numerous residential projects, two museum exhibitions, and a church renovation. Adamson Associates - Architectural Technologist 06.2008 - 09.2008 Working in a firm that specializes in construction drawings and project management allowed for a more complete understanding of how projects progress past the design phase into design development, and then onto construction drawings.

Extra Curricular msa - Professor Assistant 2014-2015 Academic Year Preparing lectures, participating in critiques, and coordinating Bachelor and Masters studios. The theme of the Bachelor studio was Nomad House, a house for 2025. In the Masters studio the theme was Living in the Derelict, reusing abandoned structures. Memorial as Playground - Editor Curating, designing, and editing the publication for V.Prof. Boštjan Vuga’s Memorial as Playground studio. ISBN 978-3-938137-59-8

09.2014 - 04.2015

Ryerson University - Academic Relations 2008-2009 Academic Year Elected student liaison attending to student needs and managing relations between students and the administrative body.


About me

Six years ago I moved to Europe, with the goal of becoming a better architect. I wanted to learn from the cultures and techniques here that differ from those in North America. I have approached each new city and country with open eyes, reading the built fabric and searching for the qualities that make it unique. Throughout the process of making this portfolio I was able to reflect on my years here. I can now say that I came to Europe as a student of architecture and that I have now entered the profession as a young architect. As an architect, I consider myself to be a generalist, in that I am interested in all architectural typologies and steps in the architectural process. Whether it is designing a small-scale object through sketching and model making, or working on a many thousand square meter building with BIM software, I am always interested in seeing how spaces manifest from an initial idea. I also enjoy working in a team and try to bring value to each situation. Through teamwork I look forward to fulfilling my ideal of daily learning. I am motivated to move to Switzerland, as it is so well known for its high standards, precise detailing, and architectural quality. Learning how to develop an architectural idea in tandem with a tactile sense of materiality will bring my architectural design to the next level. I am looking forward to the day when I can work through a project on all phases, and while exploring the spaces for the first time, knowing that I am walking through the physical manifestation of an architectural idea.

Kenneth Woods M.A (Arch) 2016


Cloud Oculus Temporary canopy for Burg Lüdinghausen Lüdinghausen, Germany Academic workshop, October 2012 Prof. Julia Bolles-Wilson Collaboration with Hendrik Weiß 1st prize msa internal competition

Burg Lüdinghausen is a moated castle originally constructed

umns, but rather a perimeter of them. Therefore, an inverted

in 1271, which has undergone many changes in its seven-

shape was designed, one that would not reach higher than

hundred-year history. In the 16th century its original archery

the existing castle.

tower was demolished and the building was converted into a typical Renaissance castle. The task of this workshop was

Five steel columns support the PTFE coated-fibreglass mem-

to develop a temporary roof for the local council which hosts

brane with a central tension ring preventing wind uplift. This

small plays and concerts for the community. The design re-

membrane is reinforced with a diamond pattern, which is in-

quired a structure that would be temporary, offer protection

spired from the existing glazing on the oldest facade of the

from rain, and be of an outstanding design quality.

castle. The ring’s U-shape acts as a water-catch collecting water running down the surface, while offering a controlled

A design was developed that would reference the original ar-

water flow located on top of a pebbled water basin. Fitted

chitecture, both existing and historical, while enhancing the

around the ring are LED lights and the necessary technical

existing building. The design’s footprint references the loca-

systems for the performances. When the lighting is activated,

tion of the original archery tower, but does not in itself try to

the canopy can glow in different patterns, intensity, and col-

mimic its form. The design is actually the inverse of a tower;

ours, notifying residents of an event’s presence.

the canopy forms a boundary object, one that helps define the performance spaces. The intervention on the existing facade needed to be minimal and all construction elements needed to be temporary. Therefore, a tensile roof structure was decided upon, one that would not require central col-

Gypsum model 3




Site Plan

Ground floor plan

Visualization - illuminated canopy from bridge 5




Existing -850mm existing masonry -interior earthen plasters Column -250mm tubular steel column -pinned foundation connection -300mm cylindrical reinforced concrete piles Ring -50mm U-shape tension ring 300mm x 400mm -LED lighting system -installation points for audio/ video equipment Fabric -1,5mm PTFE coated-fibreglass membrane -laminated on 3mm stainless steel diamond-patterned cables







Detail section

Section 6

Tapas Architecture Micro-architecture for economic development Madrid, Spain Academic workshop, November 2012 Prof. Carlos Asensio Wandosell Collaboration with Sergi Egea Bohn, Frederik Ehling

Tapas Architecture is a microeconomic response to a larger

The shops themselves take inspiration from the natural sys-

opportunity within the network of urban Madrid. The area ana-

tems that create leather, namely cattle. A language was de-

lyzed during the one-week workshop was a sector of the old

veloped that expresses the material qualities and methods

city, which is in many ways a microcosm of the city. On the

of crafting leather. The shops are designed to scale from

periphery are small shops and plenty of restaurants and bars,

small kiosks to larger market canopies. The details are like

however as one ventures further away from the periphery the

tapas ingredients; simple as individual elements, but when

shops and restaurants slowly fade.

combined together they become a complex system that are greater than the parts. Although the structures and forms are

This project invented a new tapas architecture strategy by

scalable they maintain the same elements and assembly

focusing on how this system could benefit the craft of tra-

techniques for all variants. Simple aluminium framing with

ditional leather working. The trade itself is slowly dwindling,

bolted connections forms the structural frame which is clad

largely supplanted by cheap imports and forced out of busi-

with reclaimed wood boarding. Sockets are bolted on which

ness due to high rent costs. The tapas architecture network

allow the lightweight tubular steel roof structure to slot in. The

and its portable shops will allow the producers to expand their

roof provides protection from rain and in summer the airspace

market without increasing costs. By setting up in squares, ur-

between the fabric membrane and the shop provides a cool-

ban infill sites, and under-used corners, they are able to ac-

ing effect. The roof structure is covered with fabric or in the

tivate rundown areas of the old city. These shops then go on

best case, leather.

to support and strengthen the entire economic system of the neighbourhood.




Concept diagram 7




Site plan with circulation

The typical architecture of old city Madrid is full of character, but also run down and expensive. The typical urban block consists of dense structures punctuated with light-wells. These structures are static and do not respond to changes in season or flow from pedestrians. Tapas architecture is the inverse of the courtyard block. They are objects spread across a plane - flexible on their location. An owner can set them up in response to weather, time, and number of tourists in the area. Tapas architecture is not bound to the rules of a permanent object.

Variation 1 central

Variation 2 infill/plaza

Variation 3 attached


Typical shop vs tapas architecture

Step 1 - the canvas

Step 2 - faceted

Step 3 - folded

+ 2,20m

+ 1,60m

+ 1,10m

+ 0,60m

+ 0,10m


Visualization - kiosk on urban square 10

Campus Student city Masterplan Münster, Germany Academic semester project, Summer semester 2013 Prof. Victor Mani Collaboration with Eduard Rempel Published in Westfälische Nachrichten, 10.10.2013

As a conservative Catholic city, Münster finds itself at odds

the apparent distance between them. One streetcar line is

that it is also a dynamic and liberal student city. At the politi-

introduced on the western edge of the city ring with a sec-

cal and planning level Münster is having difficulties accept-

ond along the existing promenade. These two streetcar lines

ing the ever-increasing number of students that call the city

would be able to serve the entire student population, effec-

home. The objective of the studio was to look at how this re-

tively turning the entire city into a campus.

lationship can be turned into a symbiotic one. Through extensive analysis a major conclusion was made; Münster needs

Next, this campus identity is further strengthened by con-

to intelligently densify. If density is introduced in the wrong

necting low-density areas along the proposed streetcar line

areas, it could tarnish the middle-age character of the city,

with student housing. Today these sites are overlooked and

or if no density is introduced it will increase the strain on the

unused narrow grassy fields, ideal for medium density living

transportation infrastructure in the area, while forcing more

units. On the north-western edge of the campus a transpor-

people to commute.

tation hub is proposed, allowing those commuting from the nearby villages to leave their cars outside the city centre.

The first step in the master planning process was to locate

Adjacent to the transportation hub a new sports stadium is

the ‘centre’ of each faculty in the city. From this centre, a

proposed, intended to be shared by the university and the

ten-minute walking radius was drawn. With this drawn, it be-

local football club. To complete this campus, the existing

comes evident that the city doesn’t have one but rather five

botanical garden is lined with eight education blocks, which

individual campuses. Instead of trying to change this current

trace the existing Renaissance water moat. These blocks will

reality by relocating numerous faculties, it was decided that

be mixed-use with educational spaces below and housing

linking them together with infrastructure effectively shrinks


Visualization - central campus with existing Schloss 11




Masterplan with nodes

Existing university buildings


10 minute walking circle

Connective infrastructure

Move FH Steinfurt

Connect with student housing

Planned new construction

Visualization - central campus at Schloss 14

əˈkuːstɪk (acoustic) Analog-digital interplay workshop Münster, Germany Academic workshop, winter semester 2013/14 Prof. Sven Pfeiffer and Clemens Preisinger Collaboration with Hendrik Weiß Published on

This one-week workshop focused on the interplay between

campus to develop a design for. After spending some time in

each other during a design process. First, each team con-

very comfortable due to its poor acoustics. Therefore, our

analog and digital design techniques and how they inform ducted a case study on an architect or engineer and built a

series of structural models to emulate their design process.

the café, the conclusion was made that the space was not group decided to design an acoustic ceiling.

From there, a digital investigation was made on the same ob-

After several days of form finding with karamba3d a model

were discussed. The conclusion was that the process itself

to the analog process of sketching and idea exploration.

ject and the advantages and disadvantages of each method often informs the design as much as the original architectural idea.

After the case study work, Clemens Preisinger visited the msa and conducted a karamba3d workshop. He is a structural engineer and software developer who helped create the software. The program is a form-generation tool for parametric engineering. We used it to conduct structural analysis on a

number of examples and began exploring it’s potentials as a

design tool. The software can dynamically dimension beams,

place columns for maximum performance, and vary surface

thickness in real-time responding to the applied forces. Next, the students were given an existing café seating area on the

Physical model 15

was built using the laser fabrication. The team then returned

From these ideas, a new digital model was built and fabrication potentials were explored. Once the construction tech-

niques were optimized the form was revisited with acoustic simulation software. The simulation helped determine the

spacing of the members while supporting the introduction of spanning a fabric between two wooden members. The fabric

significantly improved the acoustic performance and through

its transparency, affected the shadows on the walls of the space. A 1:1 detail was constructed which was publicly exhibited in the café.

Suspension wire

Steel bracket

Puzzle joint/ 2x20mm plywood

Infill 1mm fabric




Exploded detail construction

analog Sergio Musmeci research

Sergio Musmeci model

design sketches

laser model midterm

acoustic concept sketching

laser model end presentation

Sergio Musmeci drawings

karambara 3d_ workshop

Rhino /Grasshopper/ karamba 3d

RhinoNest fabrication test

Pachyderm/Rhino acoustic simulation

Rhino /Grasshopper/ karamba 3d

Analog to digital workflow

existing input_ lighting

design response_ without_ 32,09 dB / 4,83s acoustic/shadow interaction

existing input_ ambient acoustics

with_ 24,57 dB / 1,41s





Section - with acoustic reflections

Visualization - cafĂŠ with suspended ceiling 18

Memorial as Playground Memorial to the (re)construction of Münster after WWII Münster, Germany Academic semester project, winter semester 2013/14 V.Prof. Boštjan Vuga Collaboration with Hendrik Weiß Published in Memorial as Playground, ISBN ISBN 978-3-938137-59-8

During WWII over ninety percent of innercity Münster was

be German?’ and ‘What is the future of German culture?’. For

destroyed. This left the city and its inhabitants with crippled

many however, forgetting the war was the answer and people

infrastructure, a severe lack of housing, and destruction all

simply wanted things as they were before, without the shame

around. However, it is not the intent of this project to make

and suffering. These questions remain unanswered and are

a monument to the destruction of the city. Destruction is a

being asked and answered today many decades after the end

simple process and its monument would be monolingual.

of the war.

Reconstruction however is dynamic involving politics, the willpower of the people, and architects and builders to complete

Therefore a site was chosen and a language was developed

many complex tasks. Münster was indeed reconstructed as a

that would highlight the need for contemporary society to be

near copy of what had existed, and today many refer to it as

something not set-in-stone but constantly evolving and be-

a beautiful city.

ing refined. A four-dimensional scaffolding or ‘gerust’ was designed that would never look like it was finished but rather

However, as architects we are allowed to be critical of the

adapting and changing over time. This holds the flexible and

events that took place. In many ways the new buildings that

temporal programmes of market and education spaces. The

were built were simply carbon copy facades. Using modern

more permanent memorial is anchored on the archeological

techniques, medieval facades were built. In some ways one

site of where Jakobikirche (demolished 1812) once stood.

could say this represents the naivety of a painful period in the

The object is a simple glass box with slight design cues to

city’s history. There were many difficult questions to be asked

what once stood there.

by post-war survivors; questions like, ‘What does it mean to

Physical model - with context 19

90-100 90-80 80-70 70-60 50-60




Site plan with WWII damage

Ground floor plan - with market layout

Process diagrams

Section - with memorial and market stands 21




A flexible framework that can adapt to the annual conditions and fluctuations in numbers of visitors to the weekly Domplatz market. The framework can respond to various functions relating to the memorial, the university campus or civic functions.

Multi-level circulation, connecting programmatic boxes on the upper three levels. The in-between spaces are left unprogrammed and are intended for enjoyment of market wares, allowing the user to have an urban picnic. The current market situation has no area for consumption, only retail.

Permanent exhibition and memorial to the reconstruction of the city. Stands on former location of Jakobkirche that was demolished in 1812. The architecture is an abstract box with hints to what once stood on its location. The transparent glazing panels are located to frame views around the neighbouring context.

Exploded axonometric 22

Filling the Void with Space Investigation on spatiality Münster, Germany Masters thesis, winter semester 2014/15 Prof. Victor Mani and V.Prof. Boštjan Vuga

This investigation looked at the spatiality of architecture, pri-

chosen as driving tools to help generate space. The site cho-

marily on how different spatial types affect the user. Initially,

sen was a dense urban-infill one, which was too small for its

perception as a whole was investigated on a theoretical level.

clients and functions, which resulted in a design that treats

From here, research was conducted into how different cul-

space and programme in a novel way. A temporal building

tures have represented space through art and architecture,

was developed that would have a certain function during the

and how this has changed over time. This research phase

day and another function in the evening, thereby doubling the

was informative, but it was difficult to connect theory with an

projects apparent size.

architectural design. It was not until I discovered recent findings on biopsychology that I was able to bridge between the-

Many models were built to test the effects of different spac-

ory and architecture. What the research shows is that human

es, resulting in a form that resembles a massive object that

brains have a GPS in them, meaning we are able to record a

is delicately resting on two supporting vertical masses. The

mental map of a space through movement and speed. This

massive object gives shelter to the public daytime café below,

quantitative recording combined with our qualitative memo-

but it also leaves the visitors with a certain curiosity as to

ries are what make up our impression of a space. From here,

what is above. The space within this mass is a ceramics stu-

a series of prototypes were made to explore space in its pri-

dio and artists’ gallery, which holds workshops that are open

mal forms. The spatial typology that became most interesting

to the public. Both of these spaces transform in the even-

was ‘massiveness, bearing and being borne’.

ing; the space below becomes the living area and kitchen and above it becomes a private atelier for the owner and the

A site was then chosen to test different spatial typologies

artists in residence. The architecture serves a temporal and

within a defined volumetric box. A series of programmes were

contemporary programme, in a primal massive form.

Physical model - photomontage 23




Site plan

Visualization - upper level as ceramic atelier

Lower level plan - hybrid cafĂŠ and living 25




Upper level plan - atelier and gallery

Visualization - lower level as public cafĂŠ 26



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Day usage

Concrete sectional model 27

Evening usage

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Summer usage

Winter usage

Active systems


Bauhaus Archiv Invited international competition Berlin, Germany Professional, 07.2015 - 09. 2015 SADAR+VUGA and Casper Mueller Kneer

Tasks: analysis of the competition brief, site analysis, design development through physical and digital model making, communication with team consultants

As a cultural building in the 21st century, the Bauhaus-Archiv/

floor plan is horizontally organized, the new building will be

one used for exhibiting, teaching and learning. It should pro-

its transparent public functions on the lower levels, its admin-

Museum für Gestaltung should be a dynamic public space, vide a rewarding experience for international visitors and

local residents alike. The addition of a new building allows the original 1979 building from Walter Gropius to return to its former light-filled and open character, becoming the most important piece in the Bauhaus collection.

vertically organized. This organization is seen in section, with

istration block to the north, and exhibition spaces in the solid

upper levels above. The public spaces are fully glazed, and the opaque facade is constructed of cutting edge insulating

concrete, drawing inspiration from modern architecture and its evolution since the in 1920’s.

The proposed building forms an urban edge to the street,

The two detached objects will both perform different func-

embankment to the south, the design creates a new public

exhibition spaces are located in the upper three floors of the

bringing presence to a once hidden institution. On the canal square - the forum, a flexible urban space to be used for ori-

entation, communication, and exchange. The forum helps

mediate between the old and new buildings. It is recessed

into the landscape, shielded from noise, and has a relaxing quality. The industrial shed silhouette of the existing building

defines its architectural language. The new building uses a similar strategy, applying a silhouette that is clear yet com-

plementary to the existing one. Whilst the existing building

Submission model - with existing Bauhaus Archiv 29

tions; the existing for events and the new for exhibition. The closed ‘containers’. The levels are connected with a day-lit

staircase, complete with large sliding doors, allowing for tailored curation of the exhibition spaces. The materiality of the

exhibition rooms are discreet, with plaster walls and industrial

wooden flooring, placing the objects at the forefront of the space.




Site plan

Roof - Photovoltaik panels - Extensive green roof, substrate, drainage, waterproofing membrane - 300mm sloped mineral wool insulation - Vapour barrier - Unclad cast concrete reinforced rib-deck - Embedded heating and cooling system - Open media and mechanical spaces between beams - Integrated low energy LED lighting system Exterior Walls - Highly insulating pigmented cast 800mm insulating concrete - Textured through corrugated formwork

Detail facade section 31




Foyer Floor - Polished terrazzo flooring - Embedded heating and cooling - In-floor heating insulation - Vapour barrier - Cast concrete foundation and floorplate

Ground floor with forum below




Section - with existing beyond 32

Visualization - from canal looking to forum and new construction 33


Supreme Court of Albania Transforming into a transparent democracy Tirana, Albania Professional, 09.2015 - 12.2015 SADAR+VUGA and PGR’BR Two-stage open international competition, 1st prize

Tasks: internal team leader, prepared phase 1 expression of interest, analysis of the Competition Brief and site, design development through physical and digital model making, plans, detailed 3d modelling, communication with consultants and external renderer

Albania is a Candidate Country for EU membership and is

An urban strategy was developed that would create an ani-

el of democratic standards. SADAR+VUGA’s winning design

School of Magistrates. Placing the School of Magistrates

transforming its Judicial System to operate at the highest lev-

converts an existing historic structure into the judicial admin-

istration block, proposes four pavilion-like courtrooms in the

nature, and places a new educational building to the north. The three typologies are placed in a campus-like relationship

to one another, and together these three programmes will become mechanisms of justice, efficiency, and transparency.

Located on the periphery of Grand Park Tirana, the tranquil-

mated urban square between the Supreme Court and the as a separate block to the north promotes its functions as

an efficient and independent educational facility. Attaching the courtrooms to the existing building creates connections between the administrative spaces and the courtrooms themselves. The judges can enter the courtrooms securely through two new circulation cores, which were introduced into the existing building.

lity of the Mediterranean forest and the strength of the ex-

For the public, the existing building is the first impression of

character of the site. This character embodies remoteness;

different atmosphere is experienced. The four pavilions with

isting Italian Rationalist structure by Cesare Valle define the it is an urban oasis. It is close enough to see the city, while being removed from the noise and commotion of every day

urban life. It is the role of the architecture to enhance the best

qualities of both the natural setting and introduce the liveliness of the city to the site.

Submission model 35

the Supreme Court. However, upon entering, a completely their connecting circulation corridor, which doubles as an an-

techamber, frame an expansive view of the forest beyond.

It gives one the feeling of entering nature, stepping back to seek the truth.




Site plan


Ground floor plan 37




Detail section





Visualization - courtroom interior with view into nature 39


Dom revolucije Adaptation and reconstruction for the Home of Revolution Nikšić, Montenegro Professional, 01.2016 - 04.2016 SADAR+VUGA and HHF architekten Open international competition, 1st prize

Tasks: internal team leader, analysis of the Competition Brief, design and concept development, intensive 3d digital exploration, communication with consultants and external renderer

Dom revolucije (Home of Revolution) was designed as an

The existing structure was treated as a covered urbanscape

ture of socialist Nikšić. Construction began in 1978 and after

oped. Ten percent refers to three new plug-ins that would

architectural hybrid that would reflect the socio-political struceleven years of construction, works were suspended with the

collapse of Yugoslavia. After sitting for 27 years as an un-

completed shell in the centre of the city, the competition is an opportunity for the transformation of Dom and Nikšić itself.

Through investigation it was decided that trying to complete the existing megastructure would not work as such a project is suited to a city ten times the size of Nikšić’s. Therefore, a design was developed which would take the existing structure

rather than a building, and a 10/20/70 strategy was develhave year-round defined functions. Twenty percent refers to the promenade which intersects the building north-south and

east-west, connecting the interior covered spaces, parking,

and the proposed park to the south. The spaces adjacent to the promenade would be renovated but the functions left un-

defined and flexible. The final seventy percent refers to the remaining spaces that are made safe and secured, but not used by the general public.

and with minimal interventions, create a project that would

The advantages of this approach include its flexibility, afford-

ing infrastructure, Dom becomes a gateway into the city. The

the qualities of the existing architecture where it is pragmatic,

serve the public. By introducing a large underground parkold city’s streets become pedestrian zones, freeing the urban surfaces for cycling, café seating and for children to play. The

visitors who arrive by automobile enter the parking and are free to explore Dom’s social spaces to the north, or exit to the south to explore the city beyond.

Photograph - existing condition of Dom revolucije 41

ability, and sustainability. The strategy is one that embraces covers it where it is dangerous, and intervenes where it is needed. It is an architecture of reuseism.








Site plan

Transverse section A-A

Transverse section B-B

Visualization - cafĂŠ plugin within Dom 43




Exploded axonometric - with plugins and promenade 44

Visualization - Dom on connective landscape 45


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Kenneth Woods - Architecture Portfolio 2016